present. Glanert’s reputation at home was made primarily by his operas. Detlev Glanert These currently number fourteen, starting with the brief chamber opera Leviathan, setting one of Thornton Wilder’s ‘Three-Minute Plays’, in 1986. Eight years later he added two further instalments, Der Engel, der das Wasser bewegte (‘The Angel that Troubled the Waters’) and Der Engel auf dem Schiff (‘The Angel on the Ship’), forming an hour-long Thornton Wilder triple-bill Drei Wasserspiele (‘Three Water Plays’). By this time he had also produced the tragic fairy-tale Leyla und Medjnun (1987-8), set in the medieval Middle East. Der Spiegel des großen Kaisers (‘The Mirror of the Great Emperor’, 1989-93) is set primarily in Palermo in 1235, the unnamed Emperor presumably Frederick II, who is granted visions of the future including the Detlev Glanert photo © Bettina Stöß destruction of his imperial line and the Battle of Verdun in 1916. While Frederick was grandson of King Roger, Glanert’s music for all its initial __Time Past, Present and Future lyricism is certainly not descended from Szymanowski. In 1998, his one-acter _An introduction to the music of Detlev Glanert___ Joseph Süss, on the life of an eighteenth-century Jew in the ducal court at by Guy Rickards "I am not a composer who destroys the past to create his Württemberg, achieved much publicity in Germany but it was his next, the own world," Glanert declared in an interview at the start of his ten-year satirical Scherz, Satire, Ironie und tiefere Bedeutung (‘Jest, Satire, Irony and residency as House Composer for the Royal Concertgebouw Orchestra in Deeper Meaning’; 1999-2000)—in which the Devil is stranded on a banal, Amsterdam. "I want always to know where I am coming from, where my roots apocalyptic Earth—which proved commercially and critically successful. After are ... that makes me free." This statement encapsulates the key facet of this came Die drei Rätsel (‘The Three Riddles’; 2002-3)—for children and Glanert’s music-making, that his music sits Janus-faced taking in elements adults—and his tiniest, the comic operatic sketch or intermezzo Ich bin Rita (‘I from past traditions and recasting them in new forms and contexts, not just for am Rita’, 2003) set in the present day and requiring just 7 performers: a the present but for future audiences. This attitude to musical culture and ‘soubrette’ soprano and tenor, accompanied by piano quintet. Glanert’s history seems almost an application in sound of the merging of the past, the reputation abroad was made, by contrast, primarily through his chamber and present and the future that have informed the philosophical and poetical orchestra works, although this division is blurring, with operatic premieres works of a number of writers, T S Eliot not least. Glanert’s acute sense of time outside Germany and chamber and orchestral performances within. "I see is evident in all his works, from the tiniest, lightest of miniatures, such as his music as a muscle," Glanert remarked in the Amsterdam interview, "made Four Quartets for double-basses (or cellos; 1984, rev 1986—the title has no from emotion, construction and material… sometimes one is dominating the links to Eliot’s poem) or the Kleine Kuttel-Daddel-Du Musik (1997) for barrel others, sometimes not, and then it starts to move. For me music is completely organ, to his full-scale operas Caligula (2004-6) and Solaris (2010-2). It organic." Movement, harmonic movement, is another cornerstone of Glanert’s informs the structures and textures of each work as much as the harmonic music, which always has a clear sense of pulse, vital for a composer of language and established forms like sonata or rondo do. The impact of his symphonies, concertos, sonatas and operas. The organic growth of motifs sense of time can be heard graphically by comparing his four most recently and themes is the mainstay of these works, not least those for orchestra completed operas. Caligula, based on Albert Camus’ tract on tyranny, is a which part of his output is, after the operas, his best-known. Glanert came modern exposition of the ancient historical subject of one of Rome’s maddest early to the symphony (unsurprisingly given his relationship to his teacher emperors and written in a full-blooded postmodernist idiom. Despite the Hans Werner Henze and through him back to Karl Amadeus Hartmann and murders, blood and rape, there are comic, surreal and satiric touches Hindemith) in 1984-5 with two works: his First for large orchestra, a wholly a-plenty. The chamber opera-ballet Nijinskys Tagebuch (‘Nijinsky’s Diary’, satisfying single-movement design that builds to a vibrant and convincing 2007-8), on the other hand, is composed with leaner instrumental textures climax and a 25-minute Chamber Symphony for seven players. The Second, and in a more advanced musical style which, paradoxically, evokes the avant by contrast, is a set of Three Songs from ‘Carmen’ by Wolf Wondratschek garde of the late twentieth century. The one-act Das Holzschiff (‘The Wooden (1988-90). If, with its sometimes operatic writing for the baritone soloist, this Ship’, 2008-10; based on the first part of Hanns Henny Jahn’s Shoreless work only gradually convinced its composer of its symphonic credentials, in River trilogy) is richly illustrative in its depictions of the sea and the principals’ performance it leaves no such doubts with the listener. Glanert’s Third and emotional states, with an immediacy worthy of Korngold (although more currently last (1995-6) was commissioned for the BBC Proms (as was controlled harmonically). In Solaris (based on Stanislaw Lem’s renowned Theatrum bestiarum a decade later) and its five vividly scored movements novella), fuller textures return, including some remarkably acute writing for the were inspired by Roman Polanski’s bloody and violent film of Shakespeare’s chorus, for this full-scale opera set on board a space station orbiting around a Macbeth. Framing this work were his first two concertos, No 1 for piano distant planet in the future where manifestations of the past dominate the (1994—so far there is no Second) and Music for Violin and Orchestra OPERAS 1 OPERAS 1 (1995-6). Aside from three dances for tuba and orchestra extracted from the Einsamkeit (2009) pointing up its foreshadowing of Mahler, one of his opera Scherz, Satire, Ironie und tiefere Bedeutung (2002), his only other compositional heroes, before moving on to Mahler’s leftover original concertante work is the Double Concerto for 2 pianos and orchestra Wunderhorn-Lieder (2013) and the 1859 Te Deum (for soli, chorus (2007), written for Simon Crawford-Phillips and Philip Moore, its nine sections and—thanks to Glanert—orchestra, 2013) of the completely forgotten Ciro (grouped in threes) partly inspired by the Pathfinder images of Mars and the Pinsuti (a student of one of Glanert’s favourite composers, Rossini). In 2002, realization that the regions on the planet are all named from Roman and Glanert also reconstructed and re-orchestrated Giuseppe Becce’s incomplete Greek myth; the first stage, perhaps, on the flight path to Solaris. Since the score for the 1924 silent film Der letzte Mann (‘The Last Laugh’). Glanert may Third Symphony, Glanert has chosen to develop his orchestral muscle in freer not be, perhaps, the most experimental of composers but he is, manifestly, a forms, such as the gripping ‘Metamorphosis for large orchestra’ Katafalk musical explorer: expressively, structurally and philosophically with the vital (‘Catafalque’, 1997) and Burleske (2001), or satellite works to his later dimension of time. For him, each end is a new beginning, a notion Eliot would operas: the ‘songs and dances’ in memoriam Shostakovich Theatrum have heartily endorsed. _© Guy Rickards, 2013_ bestiarum (2005, extracted from Caligula) and Shoreless River (2008, related Das Holzschiff). His most recent works include the ‘Adagio for large orchestra’, Insomnium (2009-10), Brahms-Fantasie (2011-2, subtitled ‘Heliogravure’ after the early photographic technique and based on brief quotations from Glanert’s fellow Hamburg-born composer), Nocturne (2012), Frenesia, for the Royal Amsterdam Concertgebouw’s celebrations of Richard Strauss’ Strauss’ sesquicentennial (2013), and Weites Land (2013), for the Oldenburg State Orchestra. Counterpointing the symphonies in his chamber output are his three chamber sonatas, Vergessenes Bild (‘Forgotten Picture’, 1994), Gestalt (‘Figure’, 1995) and Geheimer Raum (‘Secret Room’, 2002), in which the acuity of Glanert’s experimental instrumental writing is revealed under the microscope. His chamber music output teems with such ‘workshop’-type pieces, including string quartets, wind quintets and octets, although his most chamber work, the large-scale piano quartet Elysion (2013), has a more somber purpose as a memorial to Hans Werner Henze The same spirit of trying things out invests his purely instrumental pieces chief amongst which are the Four Fantasias for piano (1987) and the dreamily imaginative guitar suite in seven movements, Paralipomena (1994, after Novalis). His vocal works include the choral-and-orchestral Mörike Cantata (2003–4) and Orlando furioso: 15 Lieder for counter-tenor and guitar, running to over 40 minutes (2005). Another, increasingly prominent strand in Glanert’s output might be termed the circularity of experience, in the sense of one who seeks out new landscapes and vistas only to return to Base Camp with an entirely changed perspective. This holds good not just for his original works with their close awareness of past traditions—the much-played Mahler/Skizze (1989), for example, and the Brahms-Fantasie—but for his orchestrations and reworkings of music from the past as well. These are remarkably varied in manner from straight arrangements to considered recompositions and range from Glinka’s tiny Variations on a theme of Mozart for flute and orchestra (2002) to two distinct versions of the ‘sacred’ concerto Argentum et Aurum after Heinrich Isaac (2004-5).